Author Archives: Raphael Rubinstein

Colescott

  Like many others, I have often repeated the orthodoxy that the early 1980s saw a return to painting, a rediscovery of figuration, an embrace of dramatic content and an explicit engagement with art history. And, like everyone else who … Continue reading

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Bluhm

Artistic development often contains a large degree of unpredictability. While there are some artists who for decades remain entrenched in a single mode (Josef Albers, Giorgio Morandi), many more end up in creative situations that would have been hard or … Continue reading

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Jaffe

Shirley Jaffe emerged from the crucible of gestural abstraction with an approach to painting that has given her maximum formal freedom within fairly constant material conditions.  A smooth-edge (rather than hard-edge) painter, she fills each one of her canvases with … Continue reading

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Davie

See “Karin Davie Press Release, 1999” in the Vitrine section of The Silo.

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Goldin

See Silo entry on Amy Goldin under “The Critics.”

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Critics

THOMAS McEVILLEY [posted March 12, 2013] Like so many other great art critics before him (and, let’s hope, like more to follow), Tom McEvilley, who died March 2, 2013, stumbled into art criticism from other intellectual territory.  In his case, … Continue reading

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Hains

See Silo entry on the Marginalia of Raymond Hains in Vitrine

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Tevet

In the mid-1980s, geometrical abstraction was, for many, the artistic mode where the most exciting lines of thought, turns of style and artistic practices converged. It was the privileged locus of postmodernism’s critique of modernist idealism, the vehicle for the … Continue reading

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Vitrine

October 1, 2012 KARIN DAVIE, PRESS RELEASE, 1999 I don’t keep very many gallery press releases but here’s one that I’ve held on to: the announcement for Karin Davie’s 1999 solo show at Marianne Boesky. This page of energetic sketches … Continue reading

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Polke and Prince

It’s surprising, at least to me, that the critical responses to Richard Prince’s “rubber band paintings” haven’t yet mentioned an important precedent: Sigmar Polke’s Gummibandbild Dürer-Hase (Rubberband Dürer Hare) from 1970. In the late 1960s, Polke, fresh out of the … Continue reading

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